Redemption: Remixed
by Randirogue
Summary: A geneticist of unparalleled brilliance/cruelty brews trouble for the X-Men. Who betrays? Who redeems? *Gambit, Collossus, Morlocks, Angel, Beast, AU Sinister & Doug, etc. (Fresh start on this script. Curtsies to Orli for the title extension. Good idea!)
1. Author's Notes

  
  
**Disclaimer:** If you recognize a character or piece of dialogue from the comics, cartoons, movies, etc., then it is not my original creation.   
  
**Author's Notes:** This script is now envisioned as a fourth or fifth in the X-Men movies series. I'm doing my best to make it stand alone, yet stay within the context and history established so far in the movies, while trying to predict what of the Dark Phoenix story they will retain from the comics. With that in mind, Jean is assumed to be dead.   
  
**Script Format:** Fanfiction.net keeps altering the way HTML files/coding uploads and thus, I keep having to play with making this appear as it does originally in my Word program. To help you understand (though, once you get into it, it's quite easy to follow so long as you try to picture it occurring on a theater or television screen) I will list some structure standards.   
1) Each scene or specified scene segment is begun with general location description. For example: EXT. BEDROOM - NIGHT.   
2) Next comes detailed descriptions of camera directions, actions, and sounds that are not specific dialogue. Most of these really are obvious. Still, for your convenience, I've defined some for you.     Angle on = Aim camera in an indirect line onto following person/object.     POV = point of view, as though from a person/object's view from their/its last stated position.      Off Camera = Heard/spoken from a position where person/object is not within the camera's view.     Voice Over = Generally means a person narrating, though can also be used as an alternative for Off Camera at times.   
3) All character names in the descriptions are in Caps. Sound effects and non-dialogue vocalizations are also in Caps.   
4) Dialogue is headed by the character's name in Caps, centered. Any description of that dialogue is below the name, centered, in parentheses. The actual dialogue is below that, semi-centered.   
  
  
**Translations:** I'm carrying over the well-known accents and foreign languages of characters from the comics. Translations of these will immediately follow the accented or non-English word within . Words that seem obvious will not be translated because too much translation will become too interrupting. For example: "Dieu God! Dis this is a fancy school y' have."   
  


_ Thank you, Orli-Ryro, for giving me the idea to redo this using 'remix' in the title. _

  



	2. Prologue

  
  


_ If you maximize this, the dialogue structure may look odd. _   
  


* * *

  
  
** X-Men: Redemption **   
A screenplay  
By Randirogue 

  
  
  
** Prologue **   
  
  
EXT. SEATTLE THEATER -- NIGHT   
  
Establishing location shot: Upper class patrons mingle as they enter the elegant theater (Opera House?).   
  


* * *

  
  
INT. SEATTLE THEATER -- NIGHT   
  
Pan through EXTRAS (Audience, employees, etc.) who are mingling and finding their seats. It seems to be intermission, and the show is about to reconvene. House lights go down as camera pans up to one of the balcony seats holding a lone couple. A suave and devilishly handsome man (REMY LEBEAU, a.k.a. GAMBIT) trails an enticing caress across the WOMAN'S (young, beautiful, and obviously very wealthy) shoulder and arm. She giggles and draws away demurely.   
  


WOMAN

Remy... it's starting again.   
  
REMY sweeps up her hand, which is adorned with extravagant jewelry. Remy caresses a finger over one of her rings.   
  


REMY

Beautiful...   
  


WOMAN

It belonged to my grandmother.   
  


REMY  
(Winks and kisses her hand)

That too, chére dear.   
  
Close up on WOMAN: she blushes and giggles, then is suddenly frightened.   
  


WOMAN

Remy... your eyes...   
  
Close-up on REMY: his eyes are glowing, red irises on black sclera. Off camera, we hear the WOMAN GASP. Medium shot on WOMAN staring at her hand. Her rings are glowing like REMY'S eyes. REMY snatched the rings off her hand and tosses them out over the audience. Follow glowing rings through the air. They collide with a structure support of the theater, exploding on contact. BOOM! Debris falls. AUDIENCE freaks out and scatter for safety. WOMAN SCREAMS. AUDIENCE Point of view (POV): their attention is drawn to the WOMAN, scrambling back, and REMY, leaning forward on the balcony railing. The balcony railing is glowing now too. REMY, confused and scared, backs away from the railing, pushing the WOMAN towards the balcony exit.   
  


REMY

Go. Get out. Go!   
  
REMY POV: fluttering debris falls to the glowing railing. Contact. BOOM!   
  


* * *

  
  
INT. SEATTLE THEATER -- HALL OUTSIDE BALCONY -- NIGHT   
  
Smoke and debris clear to let us see Gambit protectively on top of the WOMAN. WOMAN coughs and REMY wipes dust from her face.   
  


REMY

Y' okay, chére dear?   
  


WOMAN  
(Eyes wide)

You're a mutant?!   
  
WOMAN scrambles out from under REMY, yanking her glowing wrap off of her and runs. REMY runs the other direction. FOLLOW wrap fluttering to the ground. Contact. BOOM!   
  


* * *

  
  
INT. CEREBRO - NIGHT   
  
XAVIER, donning Cerebro headgear, randomly searching for mutants. Muted images of people (special effects from first few movies) are the displays of XAVIER'S search. A large spike occurs on the map, in Seattle, Washington.   
  


* * *

  
  
INT. SEATTLE THEATER -- NIGHT   
  
REMY runs through the hall and reaches a dead-end.   
  


* * *

  
  
INT. CEREBRO -- NIGHT   
  
XAVIER watches the Cerebro's display: muted image of REMY climbing onto the balcony railing and jumping off, towards the stage. The wall, railing, and overhang where he touched glows-waiting for some contact to set off another explosion.   
  


* * *

  
  
INT. SEATTLE THEATER -- NIGHT   
  
Angle on stage: AUDIENCE, PERFORMERS, EMPLOYEES scatter in panic. REMY, mid leap, enters frame, catching hold of the curtain, which swings with his momentum. It starts to glow, spreading more and more on the curtain and all it touches with every moment he's holding onto it.   
  


* * *

  
  
INT. CEREBRO -- NIGHT   
  
XAVIER watches the Cerebro display: muted image of REMY swinging on the curtain, crashing into sets, lights. The glowing curtain is nearly blinding bright when REMY lets go and rolls across the stage floor.   
  


XAVIER

X-Men, we have an emergency...   
  


* * *

  
  
INT. LOGAN'S BEDROOM -- NIGHT   
  
LOGAN rolls over and groans.   
  


SCOTT

Logan...   
  
Angle on door, held open by SCOTT.   
  


SCOTT

Blackbird, now. Let's go.   
  
LOGAN throws the pillow at him and gets up.   
  


* * *

  
  
INT. SEATTLE THEATER -- NIGHT   
  
REMY scrambles off the stage, hopping over seats, trying not to touch people as he heads for the exit. He leaves a trail of glowing spots where he touched seats and brushed clothing items. Angle on the glowing curtain, swinging towards the proscenium arch wall. Contact. **BOOM!**   
  


* * *

  
  
INT. INSTITUTE ELEVATOR -- NIGHT   
  
STORM presses a button and the doors start to close. ROGUE, in pink sleep-wear, enters frame as she catches the door and joins STORM inside.   
  


ROGUE

Another attack?   
  
Elevator doors close and it descends.   
  


STORM  
(Hesitant)

I don't know yet. Scott will brief us on the way.   
  
A long pause, then...   
  


STORM  
(Smiling)

Pink? I'll never get over that. It's just ... not you.   
  
ROGUE laughs. Elevator doors open.   
  


* * *

  
  
INT. SEATTLE THEATER -- NIGHT   
  
Off camera: BOOM! BOOM! BOOM! Angle on REMY, fleeing out back/side door (exit sign glows, reminiscent of REMY'S powers). **BOOM!**   
  


* * *

  
  
INT. BLACKBIRD JET -- NIGHT   
  
STORM is doing pre-flight operations. SCOTT is in the co-pilot seat, briefing the team of the mission as they enter the jet and strap in. BAMF and smoke signals NIGHTCRAWLER'S entrance. WOLVERINE, grumbling, enters, then BOBBY (ICEMAN)...   
  


SCOTT

A mutant's power has gone out of control.   
  
...Then Rogue enters and straps in. WOLVERINE grimaces at her, sort of like 'I don't want you coming.' ROGUE rolls her eyes and ignores him.   
  


SCOTT

He's causing explosions, though we don't know exactly how.   
Our purpose is to find him--   
  
COLLOSSUS (Piotr Rasputin, skin turns to organic metal-from X2) and JONO (Jonothon Starsmore, British, lower half of face and chest covered in leather protective straps) enter and strap in.   
  


LOGAN  
(After seeing the 'kids')

Is this a training session or a rescue mission?   
  


SCOTT  
(Clears throat)

We are to find him, and stop him, but not fight him. He's not   
our enemy. He needs our help.   
  


STORM  
(Calling back from pilot's seat)

We're ready to go.   
  
The boarding ramp closes.   
  


* * *

  
  
EXT. SEATTLE THEATER -- NIGHT   
  
The theater is burning. Small explosions--BOOM! BOOM! BOOM!--continue to resound. This is a left over chain reaction to debris landing on 'charged' areas inside. Several fire rescue trucks, police cars, and ambulances are parked. EMERGENCY PERSONELL attend to the fire and injured. Pull back to see this was from REMY'S POV (point of view). Angle on REMY, leaning against a parked car watching, horrified at his handiwork. He looks to his hands, keeping them from touching anything. 

REMY

Dieu! God!   
  


ESSEX  
(Off camera, telepathy)

I can help you.   
  
His voice should be very sterile, articulate, educated sounding with almost a proper or English accent. The effect is so the audience at first thinks that it is Xavier speaking telepathically to REMY.   
  
REMY looks around frantically, not seeing anyone near him, then flees.   
  


* * *

  
  
INT. BLACKBIRD JET -- NIGHT   
  


XAVIER  
(Telepathic, Off camera)

How much longer?   
  


STORM

ETA 3 hours, twelve minutes, Professor.   
  


SCOTT

Anything new?   
  


XAVIER  
(Telepathically)

Not sure... It's harder to read him now.   
  


SCOTT

Do you think it's a trap of some sort?   
  


XAVIER  
(Telepathically)

I don't know.   
  


STORM

We'll proceed with caution.   
  


SCOTT

Everyone catch that?   
  
Angle on others. Their reactions show they heard.   
  


* * *

  
  
EXT. SEATTLE STREETS -- NIGHT   
  
Angle on REMY, ducking from one object of cover to another as he flees.   
  


ESSEX  
(Off camera, telepathy)

There is no reason to run, Remy.   
  
REMY stops.   
  


REMY

How y' know my name?   
  


ESSEX  
(Off camera)

I am like you, Remy. I can help you, like I've helped others.   
  


REMY

I don't want y'r help, so go 'way.   
  


* * *

  
  
INT. BLACKBIRD JET -- NIGHT.   
  
Angle on ROGUE and BOBBY, who are flirting. SKINT! LOGAN'S claws pop in front of them. ROGUE GASPS, then rolls her eyes.   
  


LOGAN

I expect better from you, Rogue. A theater full of people is   
burning up. Don't let him distract you.   
  


ROGUE

What? We aren't doing anything, Logan.   
  


SCOTT

He's right. Now get ready, we're landing in a few. Be ready.   
  


* * *

  
  
EXT. SEATTLE STREETS -- NIGHT   
  
REMY continues fleeing.   
  


ESSEX  
(Off camera, telepathy)

Someone will catch you eventually.   
  


REMY  
(Cocky grin)

Mais but, Remy's de prince o' t'ieves. Never been caught  
yet.   
  


ESSEX  
(Off camera)

I know. That is why I recruited some help.   
  
Close up on REMY: shocked. Angle on CALIBAN (tall, lanky, muscled, with gray skin) standing before REMY. Close up on REMY. His expression turns back to his cocky grin.   
  


REMY

Sorry, mon ami my friend, y're not quite pretty enough for  
me.   
  
CALIBAN raises his arm. REMY readies for a blow while reaching in his soot covered brown duster. CAIBAN merely points to REMY. Something about CALIBAN'S demeanor seems sad, lonely, and docile now.   
  


CALIBAN

That is him.   
  


MALICE  
(Off camera, from behind Remy)

We figured that out, Einstein.   
  


REMY

We?   
  
REMY spins around, pulling out a rod-like metal object from his duster. WHAM! An unrecognizable blow to the head knocks him out. Stay on REMY as he collapses on the ground. The rod-like object, still in his half-opened hand is glowing. Angle on CALIBAN, confused and a little sad.   
  


CALIBAN

Is it gonna blow up?   
  
Angle on unconscious REMY and the rod-like object. The glow is fading.   
  


MALICE  
(Off camera)

Guess not.... Chrome?   
  


CHROME  
(Off camera)

On it.   
  
Stay on glow as it dissipates to nothing. Once it's gone completely, a liquid like metal enters frame as it continues its encasement of Remy down his arm, his fingertips and the rod-like object. REMY'S hand hardens like a shiny chrome statue. That was CHROME'S power.   
  


* * *

  
  
EXT. SEATTLE THEATER -- NIGHT.   
  
The emergency scene is nearly wrapped up. The last fire truck and ambulance leave. A few officers linger, readying to depart. A series of cuts establish the X-Men watching the near completed emergency scene outside the theater from various hidden locations. SCOTT talks into a communicator.   
  


SCOTT

Any sign of him?   
  
Continuing series of cuts: ROGUE and COLLOSSUS are across the street, watching from around the corner of a building. ROGUE answers via a similar communicator.   
  


ROGUE

Not a thing, Cyke.   
  


SCOTT  
(Off camera, via communicator)

You really need to stop hanging around Logan and Bobby so  
much.   
  


ROGUE

Wouldn't help. (Taps her head as if he could see.) Still in  
here, remember?   
  
Continuing series of cuts: NIGHTCRAWLER watches from a perch on top a tall building.   
  


NIGHTCRAWLER

I was once known in the circus as the Incredible Night--   
  
LAUGHTER over the communicator cuts him off. NIGHTCRAWLER chuckles amicably.   
  


NIGHTCRAWLER

I could port in for a quick closer look inside, fearless leader.   
  


SCOTT  
(Via communicator, sighs)

Wait until they've all cleared out.   
  
Continuing series of cuts: LOGAN is closer to the theater, around the back of it.   
  


LOGAN

Didn't Wheels say the guy was on the move already?   
  


SCOTT  
(Communicator)

Can you pick out a scent to trail?   
  


LOGAN

I'm not a bloodhound, One-eye. 'Sides, how am I to know it's  
his I'm tracing. Don't have anything to match it to.   
  
Continuing series of cuts: STORM and BOBBY positioned opposite LOGAN, also around the back.   
  


STORM

Xavier still monitoring?   
  


SCOTT  
(Communicator)

I think so.   
  


STORM

Can he direct us which direction he went in?   
  


SCOTT  
(Communicator)

I'll ask, but he said he lost track of him a while ago.   
  
Back on SCOTT.   
  


LOGAN  
(Communicator)

So why are we still here?   
  


ROGUE  
(Communicator)

Yeah, what he said.   
  


BOBBY  
(Communicator)

I vote we head back, get some sleep, and track him down  
tomorrow.   
  


SCOTT

Hang on. I'm checking in with the Professor now.   
  


XAVIER  
(Telepathically)

Yes, I've been monitoring, Scott. I think you should head  
back now.   
  


SCOTT

Find something on your end?   
  


* * *

  
  
INT. CEREBRO -- NIGHT   
  
XAVIER still wears the device. He is looking to his side, though. Dialogue from end of previous scene blends over into this one.   
  


XAVIER  
(Telepathically, to Scott, & aloud)

You could say that.   
  
Open view to see CALLISTO (abrasive unattractive woman in threadbare clothing, wearing an eye patch), looming at XAVIER's side.   
  


XAVIER  
(telepathically, to Scott, and aloud)

We have a visitor.   
  
Open view to see three other mutants (MORLOCKS): MARROW (aggressive young mutant girl with bones sticking out all over her), MASQUE (deformed male who has the ability to mold living tissue like clay), and PLAGUE (an old mutant woman who can infect people with horrific diseases). MARROW has one of her old removed bones brandished as a weapon.   
  


XAVIER

Several visitors.   
  


CALLISTO

Tell Storm to get back here. Right. Now.   
  


* * *

_ (RMKS, May 18, 2003) _   
  


_ See you next update! _

  
  



	3. Act One, Part One

  
  


_ If you maximize this, the dialogue structure may look odd. _   
  


* * *

  
  
** X-Men: Redemption **   
A screenplay  
By Randirogue 

  
  
  
** Act One, Part One **   
  
  
INT. ESSEX'S LAB -- NIGHT 

It is a crude makeshift lab in an old dilapidated hospital or abbey that ESSEX uses as his base of operations. ESSEX'S origins are in the Victorian age, and his cold/analytical demeanor is reflected in the ambiance of the lab and adjoining rooms (to be seen later). Despite the unsanitary appearance of the rooms, the equipment (piecemeal, with wires and hydraulics exposed) is very high tech. Everything involving ESSEX and his base should be reminiscent of Mary Shelley's Frankenstein. 

FADE IN. REMY is on a surgical bed. The shiny, liquid-like chrome encasing REMY is a gleaming contrast to the matte gray-blue of Cerebro's interior from which this scene is faded. CHROME'S hand settles on REMY'S shoulder. The chrome, like liquid mercury, recedes to CHROME'S hand. As soon as REMY'S head is freed he begins to revive. 

REMY'S POV (point of view): blurry, looking himself over, nothing and nobody is clearly seen. ESSEX'S hand enters frame to inject REMY with a sedative. Angle on REMY, who winces, then settles back into unconsciousness. 

FADE TO BLACK. 

* * *

INT. INSTITUTE HANGER -- MORNING 

The Blackbird (their jet) has landed/docked. The boarding ramp opens. ROGUE, BOBBY, JONO, and COLLOSSUS exit first and freeze. NIGHTCRAWLER ports out ahead of them. BOBBY POV: XAVIER is waiting just ahead and is surrounded by the intimidating looking CALLISTO, PLAGUE, MASQUE, and MARROW (note: Marrow--Sarah--is very young, like 12/13). CALLISTO POV: STORM, LOGAN, and SCOTT exit the plane. SNIKT, LOGAN pops his claws and pushes ahead of the younger members. 

LOGAN

Get them out of here, Kurt. 

Angle on NIGHTCRAWLER, already positioning to grab a hold (with both hands and his tail) of ROGUE, BOBBY, and JONO. COLLOSSUS, beside them, activates his power. His skin ripples into organic metal armor. 

COLLOSSUS

I'm staying, Tovarisch friend [1]. 

NIGHTCRAWLER looks to SCOTT, who nods confirmation. 

STORM

Wait-- 

Too late. BAMF! A cloud of smoke and NIGHTCRAWLER, ROGUE, JONO, and BOBBY are gone. 

* * *

INT. REC. ROOM -- MORNING 

KITTY and JUBILEE are giggling and talking. BAMF! Right in front of them, smoke announces the arrival of NIGHTCRAWLER, ROGUE, JONO, and BOBBY. 

ROGUE

Take us back, Kurt! 

NIGHTCRAWLER

Sorry, fraulein. 

BAMF! Smoke and then NIGHTCRAWLER'S gone again. 

ROGUE

Oh, you did not! Kurt! 

ROGUE storms out, heading back down to the hanger. BOBBY and JONO follow. KITTY and JUBILEE share a confused and eager look, hop up, and chase after them. 

* * *

INT. HANGER -- MORNING 

STORM has pushed to the forefront, directly up to CALLISTO, while SCOTT has gone straight for XAVIER, and LOGAN--one set of claws brandished, itching to fight--looms nearby. Angle on STORM. 

STORM

What are you doing, Callisto? 

CALLISTO'S POV (point of view). BAMF! NIGHTCRAWLER is perched atop the Blackbird jet. NIGHTCRAWLER'S POV of the group tensed below and in front of him. 

CALLISTO

It's time you paid up the help you gloated about, Weather  
Witch. Caliban's missing and you are going to find him. 

Angle on XAVIER. He has a superficial, still bleeding, cut on his cheek. 

LOGAN  
(Off camera)

Nice friends you got, Storm. 

Angle on MARROW as she stalks around LOGAN, taunting him with her bone, dagger-like weapon. 

MARROW

We are the Morlocks, Upworlder. 

Angle on LOGAN, keeping MARROW in frame. LOGAN GROWLS and, SNIKT, pops his other set of claws at her. 

LOGAN

Back off, kid. 

MARROW grins viciously. Follow MARROW as she stalks to SCOTT. 

XAVIER  
(Off camera)

They are from a community of mutants who reside in the  
Alley, a section of tunnels connecting with the subway  
system. 

Open view to include XAVIER. 

XAVIER  
(Continuing)

Storm has been our liaison to them for some time now.  
Callisto has refused my offer to join us here on several  
occasions. 

STORM

They believe their mutations are too grotesque to blend  
into society. 

Angle close on MARROW and SCOTT as she ceases her stalking around SCOTT to graze the sharp, dagger-like bone across his cheek. 

MARROW

Someone as pretty as you wouldn't understand. 

STORM enters frame, between SCOTT and MARROW, but in the background. 

STORM

Sarah, that is enough! 

Angle on CALLISTO, giving STORM a venomous glare for undermining her reign on her people. CALLISTO steps forward and pulls MARROW back from SCOTT. MARROW glances to NIGHTCRAWLER. MARROW'S POV (point of view) of NIGHTCRAWLER. 

MARROW

You might, though. 

NIGHTCRAWLER'S POV. All are in frame. MARROW looks curiously at NIGHTCRAWLER. 

CALLISTO  
(Commanding)

Marrow. 

Angle on MARROW, who spits at SCOTT, then backs away. Angle on CALLISTO and STORM. 

CALLISTO  
(Continuing)

Caliban didn't just go on a vacation, Storm. Someone  
took him. 

STORM

I don't doubt that, Callisto. I only fault _how_ you ask for  
help. You didn't have to use threats. 

CALLISTO

You expect us to believe you'll help us find him?  
Without owing you some sort of debt? 

STORM

Our offer has been genuine, Callisto. 

MARROW enters frame at CALLISTO'S side. 

MARROW

Don't trust them. 

CALLISTO

Shush, Sarah. 

Open view to encompass the group. 

SCOTT

How long has he been missing? 

CALLISTO

Two days. Leech, one of our youngest, was with Caliban  
when he vanished. 

SCOTT

Can he tell us what he saw? 

STORM

Leech projects a field, which cancels any other mutant   
powers in its radius. He can't turn it off. 

LOGAN

We'd be real vulnerable if he came here. 

XAVIER

True, and it would be no better if we went to him. 

CALLISTO

Wouldn't matter. He hasn't talked to anyone since Marrow  
found him hiding way off in the tunnels by Central Park. 

MARROW  
(Stalking Xavier)

Storm said that big round room is like Caliban's powers.  
You can track mutants with it. You can find him for us. 

Angle on SCOTT and STORM, XAVIER between them. Proud of her handiwork, MARROW moves almost off screen. 

SCOTT  
(To Storm)

You told them about Cerebro?! 

STORM

To be trusted, you must trust as well. 

STORM glances a smile to NIGHTCRAWLER, who nods in recognition. 

XAVIER

It's all right, Scott. 

CALLISTO

Say you find him, then what? 

XAVIER

That is up to you. 

Angle on Storm. 

STORM  
(Determined, has a personal stake in it)

We get him back. 

* * *

INT. ESSEX'S LAB -- MORNING 

Angle on REMY, who is on the same surgical bed. He's not encased in the chrome. His eyes open. REMY'S POV: blurry, bright lighting. Camera mimic's REMY'S motion and view. REMY blinks and the view pinches the frame to black, then opens back to the blurry view again. REMY looks left, camera pans left. REMY looks right, camera pans right. REMY sits up, camera mimics it, spinning to illustrate his dizziness. Angle on REMY, clutching his head, steadying himself. He looks around. Pan around room to show his POV. Camera abruptly jerks down to view from a new level. Angle on REMY. We see the camera jerk was to show he had gotten off the bed. He looks to the bed. There is a patch of blood near where his head was. He feels the back of his head as he moves out of frame. 

* * *

INT. ESSEX'S BASE -- STORAGE ROOM -- MORNING 

Remy stumbles through. The place seems abandoned except that the lights are on. The storage room seems packed with boxes and spare medical and computer apparatuses. REMY continues out of frame. 

* * *

INT. ESSEX'S BASE -- SPECIAL STORAGE ROOM -- MORNING 

REMY stumbles in through a doorway. His eyes widen. REMY'S POV: Thousands of strange looking tubes (like thick IV tubing) form several aisles. There are digital names on each tube: Carol Danvers, Jean Grey, Scott Summers, Alex Summers, Logan, Erik Lehnsherr (Magneto), Remy LeBeau, etc. Angle on REMY. He quickens his pace, looking for witnesses, guards, anyone. He's still unsteady but his years of training as a high priced thief have kicked in. He continues out of frame. 

* * *

INT. ESSEX'S BASE -- HALL OUTSIDE CLONING ROOM -- MORNING 

REMY, moving quickly, with a measure of stealth, reaches a doorway with a glass window in it. He peaks in. REMY'S POV through window. Large tanks, like in a dairy plant for ice cream or cheese, or like miniature water towers, file down the center. To the left side iss a long counter, filled with test tubes, microscopes, and computers, refrigeration units, and other equipment. To the right side, lining the wall, are many large, tubular containers. Zoom in, through glass, to one of the containers. There's an adult male inside. Rapid zoom back, further back from the door, jerky. Angle on REMY, who has stumbled back, and is wide-eyed. He runs out of frame. 

* * *

INT. ESSEX'S BASE -- BACK EXIT -- MORNING 

A glowing exit sign looms above a door up ahead. REMY, running, enters frame and bursts out the door. 

WHITE OUT. 

* * *

INT. INSTITUTE HANGER -- MORNING 

WHITE IN. The door opens, and ROGUE bursts in, followed by BOBBY, and JONO. ROGUE'S POV: the hanger is empty of people. Angle back on the group in front of the door. 

BOBBY

Where'd they go? 

ROGUE

I don't know. 

KITTY and JUBILEE pop out through the door, looking around. 

JUBILEE

What's so--hey, there's nothing here! 

BOBBY

We know. 

ROGUE spins around, pushes through them, and back through the door. 

ROGUE

They better be maimed or something. Ditching us like  
that... 

ROGUE trails off as she moves out of range. 

* * *

INT. XAVIER'S OFFICE -- AFTERNOON 

XAVIER is nestled behind his desk, deep in thought. SCOTT paces in front of the desk. 

SCOTT

And you think they're connected? 

XAVIER

I don't know. Regardless, do we want to take the chance  
and not consider that possibility? 

XAVIER clicks on a remote. A screen shows a video recording of a news broadcast. A small upper corner picture is of Dr. Henry McCoy (looking perfectly human, though, surprising muscular). Angle on video recording. 

NEWSCASTER

No suspects have been named for the disappearance of   
Dr. Henry McCoy. The renowned geneticist went missing   
from a national medical conference in Washington, DC   
last week. However, rumors that the Dr. was a mutant   
have increased... 

CLICK--it's off. Angle on SCOTT and XAVIER. SCOTT seems lost in thought. 

XAVIER

McCoy, Caliban, and the mutant you led the search for   
last night all disappeared shortly after exhibiting spikes   
of power outbursts. 

SCOTT suddenly looks up at XAVIER. He is a little put off. 

SCOTT

You didn't tell me about Caliban. You knew his power   
spiked? Why didn't you tell me? 

XAVIER

I discussed it with Storm. She came upon the Morlocks  
quite by accident and they've become very important to   
her. I didn't know Caliban had gone missing until   
Callisto arrived so there was no connection to make   
between the three events. (Studies Scott's demeanor.) Is   
something the matter, Scott? 

SCOTT

You're keeping me out of the loop, Professor. I know   
we talked about Storm becoming a co-leader. It's only   
practical now that the kids have joined up. But... I didn't   
know _anything_ about the Morlocks. I'm the field leader and I   
didn't know who they were or if they were even a threat. 

XAVIER

I see. (Wheels around desk to Scott.) Perhaps, I have   
been overzealous with how I've distributed responsibilities   
lately. I wanted to give you some down time. After Jean-- 

SCOTT

I need to keep myself busy. All I have left is leading the  
team. 

* * *

**FOOTNOTES:**  
[1] Russian, 'Tovarisch', translates to 'friend' in English. If this is incorrect in any way, even in spelling, please let me know so I can correct it. 

* * *

_ (RMKS, May 20, 2003) _   
  


_ See you next update! _

  
  



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